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Darbyshire R 2011.Pdf University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2011 ACTIVISM, ART PRACTICE AND THE VULNERABILITY OF MESSAGE Darbyshire, Ralph http://hdl.handle.net/10026.1/558 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. This copy of the thesis has been supplied on condition that anyone who consults It Is understood to recognise that Its copyright rests with Its author and that no quotation from the thesis and no Information derived from it may be published without the author's consent ACTIVISM, ART PRACTICE AND THE VULNERABILITY OF MESSAGE By RALPH DARBYSHIRE A thesis submitted to the University of Plymouth In partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities and Performing Arts July 2011 RALPH DARBYSHIRE ACTIVISM, ART PRACTICE AND THE VULNERABILITY OF MESSAGE This research project uses practical work and a supporting text to explore activism in contemporary art. Its chief concern is to consider what constitutes an activist art practice by clarifying the terms of engagement of such work. In the textual part of this submission the production of recent and contemporary artists who are widely presumed to make activist art has been examined. Their different approaches have been identified and critical evaluations of them have been offered. The artists under review include Christian Boltanski, Agnes Denes, Hans Haacke, Thomas Hirschhorn, Edward Kienholz, Doris Salcedo, and others. The analysis differentiates between them on the basis of their success as activist artists. Broadly speaking, two major strands of effective activism are identified. The first provides the audience/spectator with an understanding of their complicity in situations which are not clear-cut, where ethical standards are in conflict and where the perception of issues and solutions remains occluded. This kind of activism refuses any kind of programmatic clarity and encourages its viewer/recipient to acknowledge their moral and epistemoiogical confusions. Although it may make use of local and particular circumstances and events its overall message transcends them and it is theoretically transportable to other sites without loss of impact. The second strand of activism is designed to work with maximum impact in highly localised situations, drawing on very particular shared experiences in tightly circumscribed locations. This kind of activist art, unlike the first, cannot be removed from its exact social and political context without loss of meaning. It is the contention of the thesis that successful activist art, in either strand, is very difficult to achieve and that much of what passes as activist art is flawed, either because it is crudely propagandic or because it is too opaque for the public to respond to it. The critical framework outlined in the textual submission is the matrix within which the practical element of this submission should be considered. The work submitted for examination extends the idea of activism as a means of making tangible the political and ethical confusions of everyday life. It is designed to be eye­ catching , alluring and domineering, using scale, materials and iconography to encourage close inspection. The practical work offers the spectator a sculptural environment in which news reports, memories, moral beliefs, cultural stereotypes and historical markers are put in play. It is intended to provoke reflection, to linger in the memory, precisely because it cannot be categorised or assimilated easily as a simple message. Contents Chapter 1 - Christian Boltanski and his contribution to uncertainty 18 CHAPTER 1 NOTES 39 Chapter 2 - 'There's some kind of meaning behind it although I don't know what.' 42 CHAPTER 2 NOTES 70 Chapter 3 - Transgressive Hierarchies: Methods, Distractions and Engagements 73 CHAPTER 3 NOTES 104 Chapter 4 - Ersatz and the Appropriation of Pedigree 106 CHAPTER 4 NOTES 131 Chapter 5 -Thomas Hirschhorn: The Look of an Activist Artist 133 CHAPTER 5 NOTES 155 Chapter 6-Edward Kienholz: Nearly Great 157 CHAPTER 6 NOTES 190 Chapter 7-Practice 192 CHAPTER 7 NOTES 218 Conclusion 219 Bibliography 224 ILLUSTRATIONS 227 LIST OF ILLUSTRATIONS ILLUSTRATIONS FOR THE INTRODUCTION (I.Int) Ralph Darbyshire, Not Knowing, 2010 (2.lnt) Ralph Darbyshire, Not Knowing with Gusto, 2010 (3.lnt) Ralph Darbyshire, detail form Not Knowing, 2010 ILLUASTRATIONS FOR CHAPTER 1 (1.1) Christain Boltanski, Chases High School. 1998 (2.1) Cristian Boltanski, Canada, 1988 (3.1) Christian Boltanski, Photo Album of the Family D, 1971 (4.1) Christian Boltanski, Sans-Souci, 1991 (5.1) Muhammad al-Durrah, Sept 2000 (6.1) Cristian Boltanski, Missing House, 1990 (7.1) Hans Haacke, Now Freedom will be mostly Sponsored from Petty Cash, 1990 ILLUSTRATIONS FOR CHAPTER 2 (1.1) Doris Salcedo, Noviembre 6y7, 2002 (2.2) Doris Salcedo, Atrabiliarios,^ 995 (3.2) Oscar Munoz, Project for a Memorial, 2004 (4.3) Doris Salcedo, Untitled, 1988 (5.2) Tuol Sleng Genocide Museum, Phnom Penh, Cambodia (6.2) Susan Meiselas, Cuesta del Plomo, Nicaragua, 1978 (7.2) Doris Salcedo, Unland, the Orphan's Tunic, 1997 (8.2) Doris Salcedo, Unland, Irreversible l/Vrfness, 1995-98 (9.2) Doris Salcedo, Shibboleth, 2007 10.2) Carsten Holler, Test Site, 2007 11.2) Olafur Eliasson, The Weather Project, 2003 12.2) Peter Eisenman, Memorial for the Murdered Jews of Europe, 2005 13.2) Constantin Brancusi, The table of Silence, 1938 14.2) Doris Salcedo, Untitled,1993 15.2) Anthony Gormley, Another Place, 1997 LLUSTRATIONS FOR CHAPTER 3 (1.3)Mark Wallinger, State Britain, 2007 2.3) Brian Haw's peace camp,2001-2005 3.3) Hans Haacke, Gallery Goers' Birthplace and Residence Profile, 1969 4.3) Hans Haacke, Shapolsky et al, Manhattan Real Estate holdings, a realtime social system, as of May 1, 1971, 1971 5.3) Hans Haacke, Rhine Water Purification Plant, 1972 6.3) Banksey, Crime Watch UK has ruined the countryside for all of us, 2003 7.3) Claus Oldenburg, L/psfc/(, 1969-74 8.3) Banksey, Ice Cream Van, 2008 9.3) Goddess of Democracy, 1989 10.3) Agnes Denes, Wheatfield, a Confrontation 1981 11.3) Eugene Smith, Minamata, 1972 LLUSTRATIONS FOR CHAPTER 4 1.4) Julia Meltzer and David Thome, It's Not My Memory of it, three recollected documents, 2003 2.4) Sislej Xhafa, Elegant Sick Bus, 2001/ 3.4) Adel Abdessemed, Practice Zero Tolerance, 2006 4.4) Michael Rakowitz, The Invisible Enemy Should Not Exist, 2007 5.4) Edward Kienholz, The Illegal Operation,^962 (6.4) Jimmie Durham, Ghost in the Machine, 2005 (7.4) Jimmie Durham, Pocahontas Underwear, 1985 ILLUSTRATIONS FOR CHAPTER 5 (1.5) Thomas Hirschhorn, World Airport, 1999 (2.5) Thomas Hirschhorn, Bataille Monument, 2002 (3.5) Thomas Hirschhorn, Superficial Engagement, 2006 (4.5) Emma Kuntz, untitled healing grid, 1938 (5.5) Andy Warhol, White Burning Car, 1963 (6.5) Andy Warhol, Saturday Disaster, 1964 (7.5) Andy Warhol, Cow Wallpaper, 1967 ILLUSTRATIONS FOR CHAPTER 6 (1.6) Edward Kienholz, Back Seat Dodge 38, 1964 (2.6) Edward Kienholz, The Art Show, 1963-77 (3.6) Edward Kienholz, Still Live, 1974 (4.6) Edward Kienholz, The Portable War Memorial, 1968 (5.6) Edward Kienholz, State Hospital, 1966 (6.6) Edward Kienholz, Five Car Stud, 1969-72 (7.6) Edward Kienholz, Roxys, 1961 (8.6) Edward kienholz. The Beanary, 1965 (9.6) Edward Kienholz, Volksempfangers, 1975 (10.6) Wallace Berman, Fuck Nationalism, 1957 (11.6) Edward Kienholz, Psycho Vendetta Case, 1960 (12.6) Edward Kienholz, Ozymandias Parade, 198 ILLUSTRATIONS FOR CHAPTER 7 (1.7) Ralph Darbyshire, Red l-iot and Dutch, 2001 (2.7) Ralph Darbyshire, Year_ ,1996 (3.7) Carlos Arredondo, Camp Alex, 2006 (4.7) Martin Ramirez, untitled, 1962 (5.7) Ralph Darbyshire, A Man on the Road, Kasese to Kigali, 1996 (6.7) Ralph Darbyshire, Clay Head, 2007 (7.7) Ralph Darbyshire, ceramic components, 2007 (8.7) Ralph Darbyshire, pencil sketch for Big Coffin, 2006 (9.7) Ralph Darbyshire, Not Knowing with Gusto, 2010 (10.7) Ralph Darbyshire, detail from Not Knowing with Gusto, 2010 (11.7) Ralph Darbyshire, detail from Not Knowing with Gusto, 2010 (12.7) Ralph Darbyshire, detail from Not Knowing with Gusto, 2010 (13.7) Ralph Darbyshire, detail from Not Knowing with Gusto, 2010 (14.7) Ralph Darbyshire, detail from Not Knowing with Gusto, 1010 (15.7) Ralph Darbyshire, detail from Not Knowing with Gusto, 2010 (16.7) Ralph Darbyshire, Not Knowing, 2010 (17.7) Ralph Darbyshire, detail from Not Knowing, 2010 (18.7) Ralph Darbyshire, detail from Not Knowing, 2010 (19.7) Ralph Darbyshire, detail from Not Knowing, 2010 I embarked on this course of study due to a belief that art has the potential to activate change for the better, and through a recognition that my own practice was failing to do this. I would like to offer my thanks to Professor Sam Smiles and Dr Stephanie Pratt for their extraordinary guidance and hospitality. To Mike Lawson Smith for his advice and instruction, Graeme Thomson for his unfaltering patience and my children. Red Roses, Betty, Bear and Blitz for their love. AUTHOR'S DECLARATION At no tinne during the registration for the degree of Doctor of Philosophy has the author been registered for any other University award without prior agreement of the Graduate Committee. Presentation and Conferences Attended: Annual presentation in art history research seminar programme. Word count of main body of thesis: 66,731 Signed Date /4t 10 INTRODUCTION As a way of providing benchmarks by which my own practice can be readjusted, the aim of this thesis is to examine the work and methodologies of artists who make work that might reasonably be said to fall into, or close to, an activist art practice.
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